This somewhat unorthodox documentary reveals the paradoxical story of the element that builds all life, and yet may end it all, writes Annolies Truman.
This somewhat unorthodox documentary reveals the paradoxical story of the element that builds all life, and yet may end it all, writes Annolies Truman.
The 33rd Alliance Française French Film Festival opens around Australia in March. This year’s selection includes many for people with a taste for social justice themes, writes Barry Healy.
A new documentary film, The Other Side Of The River, shows the complexity of the women's revolution in Rojava and its contradictions. Director Antonia Kilian discusses the film.
Independent journalist and podcaster Rodrigo Acuña has teamed up with journalist Nicholas Ford on a new documentary project about Venezuela, reports Susan Price.
Miss Marx, a feminist reading of the life of Karl Marx’s youngest daughter, Eleanor Marx, is set to open in Australian cinemas on March 3, writes Barry Healy.
Time of Pandemics didn’t start out as a film about COVID-19, but only months into the project, the global pandemic began, writes Susan Price.
There has been an overwhelming response by artists to the call to boycott the Sydney Festival over its partnership with apartheid Israel, writes Vivienne Porzsolt.
Isaac Nellist reviews Ridley Scott's medieval epic detailing the last judiciary trial by combat in 14th century France.
Black Swan State Theatre Company's modern interpretation of The Tempest showcases how it remains courageous in searching out new frontiers in theatre, writes Barry Healy.
The Snowy Mountains is home to the headwaters of the Snowy, Murray and Murrumbidgee Rivers. A new film shows how the delicate alpine ecosystem that supports these vital water sources is being trampled, writes Jim McIlroy.
Barry Healy reviews a new film on the life of Eleanor Marx, the fourth daughter of Jenny and Karl Marx, and a lifelong socialist writer, translator and organiser.
What to watch on Halloween is certainly not the most pressing question for those interested in more substantial redistributions than popcorn and candy, writes Aleks Wansbrough. But there’s good reason for the left to be interested in horror films.